"I think my greatest achievement is to keep ensuring that I am beginning again," conceded director Rufus Norris, one half of the creative partnership behind Dr Dee, an opera delving into the life of 16th-century alchemist and astrologer John Dee. Norris's partner has made a career out of beginning again. Forever self-conscious, ex-Blur frontman Damon Albarn has crafted another album that refuses to be categorized as either "Brit" or "pop." According to Albarn, Dee "walked the fine line between the dark arts and acceptable practice"; Albarn's score here is a similar tightrope act. Tracks feature Renaissance- period instruments not found at the neighborhood music shop (shawm, duclian), as well as countertenor vocals that make your toes curl. Bleating crumhorn and swirling harmonium leave "Watching the Fire That Waltzed Away" feeling like a stroll through a medieval fair after ingesting acid. More conventional cuts include the Scott Walker-inspired baroque pop of "The Dancing King" and "Apple Carts," which demonstrate that Albarn hasn't lost his knack for balladry. During interviews, Albarn comes across as privileged and bullish, but it's merely his untamed confidence bubbling forth. Dr Dee's well-defined boundaries mean it lacks the sense of adventure found in previous efforts, but Albarn deserves kudos for such artistic fearlessness.

Various Artists | Casual Victim Pile: Austin 2010 The notion that regional musical flavors exist independently in American cities is quickly becoming an archaic truism, seeing as how the world really is a stage these days, at least in the digital sense.

Avi Buffalo | Avi Buffalo Look, I get it: the last thing we need right now is yet another band who can be described as “sun-baked,” “reverb-soaked,” or even just “psychedelic.” But Avi Buffalo (I know! An animal name to boot!) are worth your attention for a few reasons.

Ital | Hive Mind If there was a broken-record knock against electronic music in the last decade, it's that it all sounded the same.

Die Antwoord | Ten$ion Moreso than any "controversially-lipped" chanteuse (to borrow from one of Lana Del Rey's many observers), South African rap/rave/meme/satire/knuckleheads Die Antwoord beg the question:"Is that all there is?"

Cotton Mather | Kontiki [Deluxe Edition] When it was released in 1997, Cotton Mather's sophomore album racked up glowing critical huzzahs across the pond (not to mention big-ups from Oasis), yet dudded here in the States.

YOUNG FATHERS | TAPE ONE | December 10, 2012 Scotland does boldly inventive/wildly playful indie-pop (and prior to that, post-punk) with such machine-like efficiency that it's been a detriment to the country's other genres.

SWANS | THE SEER | August 28, 2012 Swans albums are the unparalleled expression of multi-instrumentalist Michael Gira, who often sounds like he's either deranged with enthusiasm or deranged with bitterness.

CANDLEMASS | PSALMS FOR THE DEAD | July 31, 2012 If this is truly, certainly, most definitely the final Candlemass album (the doom-metal progenitors called it quits in both 1994 and 2002, only to reform both times), then the swan song on their swan-song release is "Black as Time," a middling, excessively lengthy number.